This article reflects on the knowledge and experience of North Korean music and dance among North Koreans who now reside in Britain. In particular, we explore their memories from before they escaped the isolated so-called socialist paradise. North Koreans mostly arrived in Britain between 2004 and 2008; they arrived as refugees and applied for asylum. Although the last four decades has seen much ethnomusicological research on music and migration, we remain mindful of Reyes Schramm’s argument about the importance of studying refugee music to better understand music traditions. As with other parts of the world, though, today there are a multitude of online and published materials on North Korea, including on music and dance, most emanating from the country. Given that there are few if any opportunities to conduct fieldwork inside the country, researchers typically use the available materials to construct accounts. But to what extent do the memories of North Koreans who are resident in Britain contrast and challenge the online and published materials?

Whereas students in China can take Chinese instrument training in a variety of settings, Canada has no systematized structure of Chinese music education. Indeed, little scholarly attention has been paid to the development of Chinese instrumental music education in the Chinese diaspora within North America. Based on extensive fieldwork in Toronto, I address the following questions in this article: How do Chinese immigrants pass down their music? How and where do students take Chinese instrument training? How have the methods of transmission evolved? And how do Chinese instrument pedagogical techniques bridge Chinese and Canadian contexts?

In 2019, Chile’s artistic collective Las Tesis staged the viral feminist performance “Un violador en tu camino” (A Rapist in Your Path), as a popular protest against Sebastián Piñera’s government. This article analyzes the geopolitical context behind Las Tesis, focusing on Chile’s 2019 events and the motivations behind the performance in Valparaíso. Subsequently, I explore the performance’s structure and lyrics as a form of artivism, emphasizing its impact. The third section of this article will be dedicated to exploring the linguistic and musical adaptations of the same performance undertaken by various women’s collectives, associations, or informal groups across the globe.

Before colonialism, Gbe women enjoyed a social status on par with men. However, there has been a shift in the postcolonial social structure of Gbe societies. Modern capitalism, which accompanied colonial structures, privileged men, eroding many woman-empowering practices. This article examines Ogu women’s marginality through an ethnographic study of gangbe (a musical genre exclusive to married Ogu women). I argue that the sources of Ogu women’s marginality are interlocking, involving oppression stemming from colonial structures and the values of contiguous Yorùbá people. I propose a collaborative intervention that upends typical power structures that privilege Western and Yorùbá ideation over Indigenous Ogu knowledge, values, and practices.

This article analyzes the internationalization of Mozambican music within the “World Music” market during the country’s transitional period from a single-party socialist-led system to a multiparty, liberal one (1987–1994) in relation to the country’s nation-building process. The comparative examination of three cases—Orchestra Marrabenta Star de Moçambique, the song “Baila Maria” by Grupo RM (Amoya), and Real World Records’ albums by Eyuphuro and Ghorwane—shows that the “World Music” market not only served as an escape valve from the country’s lethargic phonographic industry but also emerged as a privileged channel to promote Mozambique’s official musical policy abroad during a crucial civil war-torn period.

Este artigo analisa a internacionalização de música moçambicana no âmbito da categoria de mercado “World Music”, durante o período de transição de um sistema de partido único e socialista, para um sistema multipartidário e liberal (1987-1994), enquadrado no processo de “construção da nação”. A análise comparativa de três casos – Orquestra Marrabenta Star de Moçambique, a canção “Baila Maria” do Grupo RM (Amoya), e os discos de Eyuphuro e Ghorwane (Real World Records) – confirma o recurso à World Music enquanto alternativa à letargia da indústria fonográfica do país e como veículo para promover internacionalmente a política musical de Moçambique durante a guerra civil.

During winter 2020–2021, Los Angeles County suffered a brutal third wave of the COVID-19 pandemic. Latinxs, who account for 49 percent of the local population, were disproportionately devastated by high numbers of COVID-19-positive cases and alarming increases in mortality rates. Despite the popular perception that all musicians were silenced during the pandemic, I draw from my personal experience as a mariachi and those of my musical colleagues to document the impact of systemic marginalisation on the lives of mariachi musicians and how we responded to the pandemic by supporting each other and our community through performances.